u/Aggravating-Medium-9

I am checking which games to buy before the PS3 and Vita stores close.(Sony has announced that they will close the PS3 and PS Vita stores next year.)

I roughly know which PS3 and Vita games are good and which are not. However, I know almost nothing about PS1 games and have never experienced them, so I don't know what is interesting and what isn't.

Could you recommend some must-play PS One Classic games available on the PS Store?"

One day in 1974, Philip K. Dick woke up from a nap and shouted that his son needed medical attention.

A pediatrician had examined the child shortly before and stated that there was nothing wrong.

However, Dick insisted that his son had a right inguinal hernia and was in a critical condition. Upon examination in the hospital emergency room, the doctor gave the exact same diagnosis as Philip K. Dick.

This is an anecdote that Philip K. Dick frequently mentioned to prove that he was not crazy.

I would like to know if there are any third-party accounts (such as from the pediatrician, his son, or the ER doctor) regarding the incident where Philip K. Dick identified his son's illness before the doctors, aside from his own interviews

Edit:

i want to know this, because if Philip K. Dick's own account is the only testimony for this incident, it could be a lie. And if it is a lie, it's highly likely that he was suffering from mental illness. 

However, If this had actually happened and supported by third-party testimony. well, I don't know exactly what it would be, but it would require a different explanation.

This is from a 1974 interview featured in the , Philip K. Dick: The Last Interview: And Other Conversations.

When the interviewer asked his thoughts on modern day sci-fi literature, he said, None of us knew how to write except for Ray Bradbury, but the authors debuting these days actually know how to write.

As far as I know, Robert Heinlein, Arthur C. Clarke, and Isaac Asimov were also wrote their works during the same era as Philip K. Dick and Ray Bradbury. Does this mean that in Philip K. Dick's eyes, even they were considered writers who couldn't write?

(Contains spoilers)

The story begins in a completely communized world, where a young Vietnamese man named Chien is forced into buying medicine by an old veteran.

After returning home and taking the medicine, Chien watches a televised speech by the Supreme leader, who is based in Beijing. However, all he sees is a grotesque machine making noise.

He thinks he was tricked into taking a drug, but he discovers that what he took was a tranquilizer and anti-hallucinogen. So, he wasn't hallucinating from the drug, he was seeing reality.

Soon after, a young woman is come into Chien's apartment.

She reveals that she is a member of a secret group and that they intentionally gived him the medicine. They also see something else when they watch the Supreme leader's speech under the influence of the anti-hallucinogen,the problem is that each of them sees something entirely different.

She tells Chien that the Party has recognized him as a rising talent. With a little help from her group, he could climb the ranks high enough to attend a banquet in Beijing where the Supreme leader himself will be present. She asks him to attend this banquet under the influence of the medicine so he can witness the leader's true form and report back to them.

Accepting her proposal, Chien eventually attends the banquet in Beijing, just as planned. There, he sees a transparent entity. This transparent figure devours, kills, and destroys the people around it, and restore and resurrect them, all while slowly approaching Chien.

Feeling the sheer disgust and hatred the entity radiates toward humanity, Chien realizes its true identity.

It was the entity that created life, and the entity that takes it away, the one who raise the dead, possesses eternity, created imperialism, created the Yankees, created the Party, created the Party members, created the Party's opponents, and created every single blade of grass. It was God.

Feeling that he retains his own pride and dignity, Chien sets down his glass, slowly walks to the balcony, and throws himself out the window. He then wakes up back in the banquet hall with a headache.

Upon returning home, Chien tells the woman to run away. But realizing that it is impossible to escape from it, he tells her to just forget it all. The story ends with them having a brief conversation about music and religion, and embracing each other.

This story and some of Philip K. Dick's works, contains almost every element found in the Lovecraft or Thomas Ligotti.

The veiled truth of the world, cults, the incomprehensible and terrifying dark side of the universe that humans cannot grasp, and divine entities that view humanity as mere toys or insects.

I think the reason some of the Dick's works, like this one, are read as unique sci-fi rather than horror is the protagonist's reaction. Unlike the protagonists in Lovecraft or Ligotti's stories who succumb to despair and go mad when the veil is lifted and they witness the truth, Dick's protagonists never lose their will, pride, and dignity to the very end.

Other than that difference, they feel almost identical to me.

I am not American, so I have never actually met an American Gen Z in person.

However, looking at various social media platforms, I feel that the mindset of some Gen Z is similar to the characters in the movie.

American culture has always valued masculinity, but I have never seen a culture pursuing masculinity become as popular as it is with the current Generation Z. They have a strong obsession with chiseled faces and physiques, as well as men's pride.

Tyler Durden says they were abandoned by their fathers and are the orphans of history. Looking at what some Gen Z say on social media, it seems they feel isolated. They seem to feel that women hate them, previous generations are indifferent toward them, and society is hostile, or at least , don't care about them.

Furthermore, their political ideologies, as perceived on social media, are quite radicalized. Many of them are either far-right or far-left, and they believe that the use of violence to pursue their political beliefs is justified in certain situations.

Also, i can often see they are craving male-only groups.

I know that social media makes a vocal minority appear larger than it is, so there aren't actually as many of these people in reality as it seems on the internet. However, it seems certain that they are emerging in numbers that cannot be ignored, more than 10 years ago, i didn't see this many people like this.

I am not saying Tyler Durden's beliefs is identical to theirs. There are major differences between Tyler Durden and their beliefs. Tyler Durden believed that civilization itself and consumerism suppressed masculinity and enslaved men. In contrast, while these young men are hostile to modern civilization, they seem to admire traditional culture, and they don't show any critical awareness regarding consumerism.

Additionally, Tyler Durden equated God with fathers, interpretation being abandoned by a father as being abandoned by God, thereby showing a cynical attitude toward religion. On the other hand, some Gen Z seem to have a strong attachment to religion.

But it is also true that there are many similarities, the pursuit of masculinity, the fear of losing masculinity, the feeling of being abandoned by the father generation, the belief that pursuing masculinity and violence can provide an exit from their circumstances, the contempt for meaningless social systems, and a strong sense of solidarity among themselves.

I don't know if this is simply a coincidence, or if the author of Fight Club wrote it because he sensed these societal changes. But I find it fascinating.

*I know that in Lovecraft's original works, there is no direct description that Azathoth is dreaming this world. I am aware that this is an influence from Mana-Yood-Sushai in the novel 'The Gods of Pegana', and because Azathoth was created with Mana-Yood-Sushai's influence, other writers applied Mana-Yood-Sushai's lore to Azathoth. However, since this is a setting widely used in Cthulhu Mythos works and many TRPGs, and has been used since right after Lovecraft's passing, please consider this a based on the general works related to the Cthulhu Mythos.

When a person dreams, they always become something with an ego and consciousness, experiencing the dream world they have created.

It is never like a computer simulation program where you just build the world and passively watch it without any consciousness.

You might experience the dream as your self, or you might become a different gender, a different race or nationality, or even an animal, but the fact that you experience the dream as a conscious being remains unchanged.

If Azathoth's dream is like a human's dream, wouldn't it also be experiencing this world as some kind of conscious being?

Perhaps one of the lesser gods is Azathoth's avatar, or maybe it has become an ordinary human, struggling in life without knowing who he is. Or it could even be living as a wolf in the plains, or as someone's cat.

Of course, Azathoth is a transcendent, incomprehensible entity completely different from humans or animals, but it isn't strange at all for an avatar to be a completely different being from its true substance.

In numerous religions and mythologies, like Shinto, Christianity, and Hinduism, it is quite common for a god to become a mere human.

Think about computer games, the most violent person in the world could play game using the most kind hearted character as their avatar, and the person with the highest intelligence in the world could play game using the most foolish character as their avatar.

An avatar can be entirely different from its true nature.

Ever since I learned about the Cthulhu Mythos and Azathoth's dream, this thought has constantly crossed my mind

The thought that maybe, within its own dream, Azathoth has become an ordinary human and is experiencing this world.

In Afghanistan, the Soviet Union suffered 10,000 to 20,000 deaths and 400,000 wounded. As far as I know, this war became one of the causes of the Soviet Union's collapse.

In the Vietnam War, the US suffered 58,000 deaths and 300,000 wounded, which sparked a nationwide anti-war movement.

In the Iraq War, 4,800 US soldiers died and 30,000 were wounded. The casualties and financial toll in Iraq became one of the reasons for Obama's victory in 2008.

In the current Ukraine War, hundreds of thousands of Russians have died and over a million have been wounded, yet there seems to be absolutely no public opposition to this war in Russia right now.

Looking at the news, Putin's approval ratings consistently show high numbers of around 70% to 80%. Furthermore, when I visit Russian websites and use a translator, the atmosphere is incredibly peaceful, as if nothing is happening at all.

What is the reason for this?

The characteristics of a bot that I know of include

frequently using emojis,

frequently using symbols like '-' or '~',

writing either excessively verbosely or excessively briefly.

Besides those, what other characteristics can help identify a bot?

Itdbay.com

I see a few products with good prices, but I've never heard of this site before, and no reviews come up when I search the site's name.

The following is part of Philip K. Dick's 'Metz Speech'

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>Let me present you with a metaphor. Let us say that there exists this very rich patron of the arts. Every day on the wall of his living room above his fireplace his servants hang a new picture—each day a different masterpiece, day after day, month after month—each day the “used” one is removed and replaced by a different and new one. I will call this process change along the linear axis. But now let us suppose the servants temporarily running out of new, replacement pictures. What shall they do in the meantime? They can’t just leave the present one hanging; their employer has decreed that perpetual replacement—i.e. changing the pictures—is to take place. So they neither allow the current one to remain nor do they replace it with a new one; instead, they do a very clever thing. When their employer is not looking, the servants cunningly alter the picture already on the wall. They paint out a tree here; they paint in a little girl there; they add this; they obliterate that; they make the same painting different and in a sense new, but as I’m sure you can see, not new in the sense of replacing it.

>...

>This problem-solving by means of reprogramming variables along the linear time axis of our universe, thereby generating branched-off lateral worlds—I have the impression that the metaphor of the chessboard is especially useful in evaluating how this all can be—in fact must be. Across from the Programmer-Reprogrammer sits a counterentity, whom Joseph Campbell calls the dark counterplayer. God, the Programmer-Reprogrammer, is not making his moves of improvement against inert matter; he is dealing with a cunning opponent. Let us say that on the game board—our universe in space-time—the dark counterplayer makes a move; he sets up a reality situation. Being the dark player, the outcome of his desires constitutes what we experience as evil: nongrowth, the power of the lie, death and the decay of forms, the prison of immutable cause and effect. But the Programmer-Reprogrammer has already laid down his response; it has already happened, these moves on his part. The printout, which we undergo as historic events, passes through stages of a dialectical interaction, thesis and antithesis as the forces of the two players mingle. Evidently some syntheses fall to the dark counterplayer, and yet they do not, by virtue of the fact that, in advance, our great Advocate selected variables, the alteration of which brings final victory to him. In winning each sequence in turn he claims some of us, we who participate in the sequence. This is why instinctively people pray, “Libera me Domine,” which decodes to mean, “Extricate me, Programmer, as you achieve one victory after another; include me in that triumph. Move me along the lateral axis so that I am not left out.” What we sense as “being left out” means remaining under the jurisdiction of, or falling prey to, the malignant power. But that malignant power, for all its guile, has already lost even as it wins, for in some way the counterplayer is blind and so the Programmer-Reprogrammer possesses an advantage.

>The great medieval Arabic philosopher, Avicenna, wrote that God does not see time as we do; i.e. for him there is no past nor present nor future. Now, supposing Avicenna is correct, let us imagine a situation in which God, from whatever vantage point he exists at, decides to intervene into our space-time world; i.e. break through from his timeless realm into human history. But if there is only omnipresent reality from his viewpoint, then he can as easily break through into what for us is the past as he can break through into what for us is the present or future. It is exactly like a chess player gazing down at the chessboard; he can move any of his pieces that he wishes. Following Avicenna’s reasoning, we can say that God, in desiring, for example, to bring about the Second Advent, need not limit the event to our present or future; he can breach our past—in other words, change our past history; he can cause it to have happened already. And this would be true for any change he wished to make, large or small. For instance, suppose an event in our year A.D. 1970 does not meet with God’s idea of how it all should go. He can obliterate it or tinker with it, improve it, whatever he wishes, even at a prior point in linear time. This is his advantage.

>I submit to you that such alterations, the creation or selection of such so-called “alternate presents,” is continually taking place. The very fact that we can conceptually deal with this notion—that is, entertain it as an idea—is a first step in discerning such processes themselves. But I doubt if we will ever be able in any real fashion to demonstrate, to scientifically prove, that such lateral change processes do occur. Probably all we would have to go on would be vestiges of memory, fleeting impressions, dreams, nebulous intuitions that somehow things had been different in some way—and not long ago but now. We might reflexively reach for a light switch in the bathroom only to discover that it was—always had been—in another place entirely. We might reach for the air vent in our car where there was no air vent—a reflex left over from a previous present, still active at a subcortical level. We might dream of people and places we had never seen as vividly as if we had seen them, actually known them. But we would not know what to make of this, assuming we took time to ponder it at all. One very pronounced impression would probably occur to us, to many of us, again and again, and always without explanation: the acute, absolute sensation that we had done once before what we were just about to do now, that we so to speak lived a particular moment or situation previously—but in what sense could it be called “previously,” since only the present, not the past, was evidently involved? We would have the overwhelming impression that we were reliving the present, perhaps in precisely the same way, hearing the same words, saying the same words… I submit that these impressions are valid and significant, and I will even say this: Such an impression is a clue that at some past time point a variable was changed—reprogrammed, as it were—and that, because of this, an alternate world branched off, became actualized instead of the prior one, and that in fact, in literal fact, we are once more living this particular segment of linear time. A breaching, a tinkering, a change had been made, but not in our present—had been made in our past. Evidently such an alteration would have a peculiar effect on those persons involved; they would, so to speak, be moved back one square or several squares on the board game that constitutes our reality. Conceivably this could happen any number of times, affecting any number of people, as alternative variables were reprogrammed. We would have to go live out each reprogramming along the subsequent linear time axis, but to the Programmer, whom we call God—to him the results of the reprogramming would be apparent at once. We are within time and he is not. Thus, too, this might account for the sensation people get of having lived past lives. They may well have, but not in the past; previous lives, rather, in the present. In perhaps an unending repeated and repeated present, like a great clock dial in which grand clock hands sweep out the same circumference forever, with all of us carried along unknowingly, yet dimly suspecting.

>Since at the resolution of every encounter of thesis and antithesis between the dark counterplayer and the divine Programmer a new synthesis is struck off, and since it is possible that each time this happens a lateral world may be generated, and since I conceive that each synthesis or resolution is to some degree a victory by the Programmer, each struck-off world, in sequence, must be an improvement upon—not just the prior one—but an improvement over all the latent or merely possible outcomes. It is better but in no sense perfect—i.e. final. It is merely an improved stage within a process. What I envision clearly is that the Programmer is perpetually using the antecedent universe as a gigantic stockpile for each new synthesis, the antecedent universe then possessing the aspect of chaos or anomie in relation to an emerging new cosmos. Therefore the endless process of sequential struck-off alternate worlds, emerging and being infused with actualization, is negentropic in some way that we cannot see.

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If, as Philip K. Dick believed, the Creator exists simultaneously in the past, present, and future, and is constantly altering time as part of a chess match against His adversary, and if His adversary is capable of the same thing, what exactly is the criterion for victory and defeat in their battle?

All fights between humans are fought under the rule of who reaches a specific finish line within a set time limit. For example, in a soccer match, the competition is to see who scores more goals within a 90 minute time limit.

However, if the chess match between the Creator and His adversary is played by continuously rewriting the past and present, such limitations do not exist in their fight. If a present or future unfolds that is disadvantageous to one side, they can simply go back and alter the past.

If so, what is the criterion for winning and losing in their battle?

Are they locked in an eternal struggle with no permanent victory or defeat? Or is the victory and defeat in their battle based on something else entirely, rather than any physical state of this world?

Sony has introduced a new DRM system that makes digitally purchased games unplayable unless they are check once a month.

The PS3 and PS Vita stores are still accessible, and it is possible to purchase games from them.

Does anyone know if Sony's new DRM only applies to the PS4 and PS5, or if PlayStation's new DRM policy also applies to digital purchases on the PS3 and PS Vita?